Paola Paz Yee
I assume my artistic work through the body, inside a poetic space inscribed in here and now, where the plastic and scenic languages, meditative and real-life exercises converge and dialog with each other. I question inhabitation and transit of my body in a socio-political territory, in relation to other bodies, through an intimate narrative in a geographically determined time and space. I try to understand time in a none-lineal way, to trust and experiment from the organicity that is possible to generate from the relation between mind, body and energy, not only from the Self but exposed in the public-collective, without a gender relationship, meaning, a connection person to person.
There are two axis inside my process; performance and photography, nowadays social artistry too. Based on them,
I am interested in working on the psychology of color, through the theories of Goethe that refer to the process of perception of color that the human being is unconsciously exposed to. This has become a need for experimentation and research in my work. Another interest of mine is time; as the way of stressing the passing through a specific space. Therefore, a precise constant of my work is the real timing of myself passing through time in space, which leaves trails or prints as an extension of my body; real and unique forms of that specific Self. There are fragments of different times that are fixed in order to achieve the continuation of a point in a divergent line that makes possible the shape of a parallel virtual body to be inhabited by a collective identity with the active presence and participation of the spectator. I mirror these two languages, the photography and the intangibility of the performance through the approximated visual representation of a reality in here and now with a click or real hour.
I am interested in the private space and transgress into public space with actions, where I could dislocate the logical time of the routine and to move the art piece into unexpected places sharing parallel times with the spectator, where I reflect the materials through repetitive acts related sometimes to an auto-reference that is mixed with my plastic influences but, above all, oriental film influences.
Today my search and interest is based in the reaction of my body to the exposure of another animal body, from death and life, a real-life political reference from my country where I criticize the power of the state and the couple in the Macho culture.